Before the 19th century, Ultramarine Blue pigment was made with lapis lazuli, a luminous blue mineral mined in Afghanistan. The name derives from the Latin ultra (beyond) and mare (the sea), a reference to its remote origins.
Ultramarine Blue’s History
In Renaissance Europe, lapis lazuli was immensely expensive thanks to its rarity and the time-intensive process of grinding the mineral into paint. The yield was small, with 1kg of mineral producing around only 30g of pigment. As a result, it was used sparingly, usually reserved for the robes of the Virgin Mary and other holy figures. The colour came to symbolise humility and purity, as well as signifying the wealth of the patron who commissioned its use. An artist would often charge for the pigment separately on the invoice so that the patron could choose how much ultramarine they wanted to pay for. In the 17th Century, Dutch artist Johannes Vermeer used the pigment extensively in almost all of his paintings. The turban of the Girl With a Pearl Earring is painted with Ultramarine and Lead White and finished with a glaze of pure Ultramarine.
The Development of Synthetic Ultramarine
In 1826, a synthetic version of Ultramarine was developed by French chemist Jean-Baptiste Guimet by heating kaolinite, sodium carbonate and sulfur in a kiln to create a pigment which is chemically identical to lapis lazuli, but even more vivid in colour. In order to differentiate it from its mineral counterpart, it was called French Ultramarine. Due to its affordability and effectiveness as a lapis lazuli alternative, French Ultramarine quickly became more prevalent than the original mineral pigment and is now considered an essential colour in an artist’s palette. Genuine lapis lazuli paints are still produced, but they are no longer labelled as Ultramarine. Compared with the synthetic pigment, lapis lazuli is a more muted colour, and it is weaker in coverage and tinting strength.
Synthetic, or ‘French’, Ultramarine Blue pigment
Ultramarine Blue’s Mixing Qualities
Synthetic Ultramarine Blue is usually a warm, reddish-blue, but there are variations of Ultramarine and some professional brands have more than one in their range. Sometimes they are differentiated as being either ‘green-shade’ or ‘red-shade’ to indicate the colour bias. The difference between these varieties may seem subtle, but whether a blue leans towards red or green is imperative in colour mixing. In watercolour, Schmincke and Daniel Smith offer both Ultramarine Blue and French Ultramarine. In both ranges, French Ultramarine is slightly warmer (redder) and more granulating, whereas Ultramarine Blue is cooler (greener) and less granulating. Additionally, Schmincke have an Ultramarine Finest which is non-granulating due to it’s small, finely milled pigment particles.
Comparing the three Ultramarine Blues available from Schmincke Horodam Watercolour. From left to right: Ultramarine Finest, Ultramarine Blue and French Ultramarine
While it is transparent to semi-transparent, Ultramarine Blue has a high tinting strength which means that it holds its own in mixes without being overpowering. It can be mixed with Burnt Sienna or Burnt Umber to create subtle neutral tints. Combined with a bluey-red like Permanent Rose, Ultramarine Blue can make vibrant violets.
Jackson’s Ultramarine Blue Light watercolour with (from top to bottom) Burnt Sienna, Burnt Umber and Permanent Rose
It’s extraordinary that a colour that was once worth its weight in gold is now one of the most common blues, popular in both professional and student grade paints. The story of Ultramarine Blue is the story of the power of colour— the lengths we will go to obtain it and the innovations of modern chemistry which put it within our reach.
Further Reading
Pigment Colour Index: Blue Pigments
The Enduring Appeal of Alizarin Crimson
Five Yellows and How To Use Them
Eight Blues and How To Use Them
Ultramarine Blues at Jackson’s Art that I recommend:
- Golden Ultramarine Blue Acrylic
- Roman Szmal French Ultramarine Blue
- Jackson’s Professional Ultramarine Blue Red Shade Oil Paint
For those who want to discover the historical colour, the following paints use natural lapis lazuli:
Hi Evie
A couple of questions: The genuine lapis
mineral pigment I have is almost grey.
Surely the medieval or renaissance Lapis
was a real glowing ‘Virgin Mary- type
intense blue?
What is the difference between the
Ultramarine blue light you mention and
the Ultramarine? If is is simply
concentration of pigment why bother?
Hi Frances.
Lapis lazuli naturally contains impurities like pyrite and calcite that can dull it’s colour. It could be that the genuine lapis you have contains a lot of these impurities. It accounts for why the pigment was so expensive- the process of separating the lapis lazuli from the other minerals is long and complex! Lapis lazuli would have been glazed on top of less expensive blue pigments, like azurite, which helps give the depth of colour that we see in the Virgin Mary’s robes.
The difference between ultramarine blue light and ultramarine deep is in the way that the pigment is milled. Ultramarine deep is darker and redder than the Ultramarine Light due to larger pigment particles, rather than a higher pigment load.
I hope that’s helpful!
Evie
Lapis Lazuli Ultramarine is made from
crystals, and, if it is ground too finely,
it turns grey because the crystal loses
it’s structure. This is why ‘proper’
Ultramarine is grainy, the crystals are
big enough to be visible. It is a
wonderful colour and an
indispensable colour.
Hello Francis, your greyish Lapis Lazuli
pigment is probably what was named “grey
ashes”in Holland (Golden Age) and was the
result of the last (of several) “levitations”,
resulting in first quality pigment ( most
impurities removed ) and gradually lesser
quality up to the last =grey ashes. P.S. as
an alternative for this You might as well
use “false Blue” which might be puzzling /
but rewarding when solved; hint: Google
raleigh effect/blue mountains, blue
feathers of birds , blue smoke ( e.g. blue in
sunlight when NOT inhaled first, but grey
in sunlight when Inhaled first, etc. Have
fun making Your “own “blue.
I appreciate all your information via email really helpful.
THANK YOU
Sandra Burton
I’m glad you find it useful, Sandra. Thank you!
Hi Evie,
I want to say a HUGE THANK YOU!!!
Thank you for being part of an AMAZING
store like Jackson’s! I’m an American
artist that absolutely loves to draw and
paint here in London where I live as well.
I got the privilege to come to the Putney
Bridge store. I expected this HUGE store
based on your website, and much to my
surprise it was this small gold mine
tucked away right next door to the
station. Gold mine because of people
like you!! If I have a question or want
something rare, you guys either have it
or get it. If I want something but I have
questions you know the answers! I love
your store and appreciate your
knowledge!!
Thank you so much for your lovely comment Desiree! Very happy to be of help
An attic clear out during lockdown
uncovered a wrapped whole pan of
Winsor and Newton genuine Ultramarine.
When working there in the late 60’s, the
last ever remaining few pans were
offered for sale to employees. I bought
one. I imagine from your comments it
must be pretty rare!
Thanks for that Evie.
I remember being surprised when I
noticed Ultramarine (green shade) on
the tube… I’d always associated it with
warmth.
I think the pigment tubes are poorly placed next to the
sample…
Hi Fita, thank you for pointing this out! We have updated the image
Break the lapis lazuli by healing the stone in an oven. Cool it in
vinegar and crush as fine as possible with a mortar. Prepare wax
dissolved in turpentine and Venetians turpentine. Mix the fine lapis
powder in the wax solution . When it has cooled you can form this
into a ball. Put this ball into a alkaline liquid. With wooden sticks
you then knead and work to wax all. The finest quality of lapis
lazuli will set on the bottom of your working bole. Do this seven
times. Each time will gain a lesser quality of lapis lazuli. Wash the
alkali, let it dry and use it as pigment.
I find the process of making pigments fascinating- thank you for posting this, Chris!
That’s absolutely amazing, and wow, what a lot of work. Am I right in thinking that only the very darkest lapis lazuli works?
Now, about lapis lazuli stones
used in jewelry.
I have my Mother’s lapis beads.
and some recently bought
drop earrings. Dark lapis.
Can you tell old lapis from
newer?
See a jeweler?? Thanks.
I’m afraid that this is outside of our expertise. It would be interesting to know what accounts for the variation in colour, I think a jeweller would be able to help you with this.
Dear Evie, I very much enjoy the material
your writing. Please let me know if I can ever
be of assistance?
Thanks very much Michael! Much appreciated
Very interesting article, Evie. Many thanks
for your post!
So glad you found it interesting!
I am in a very remote city of Western
Australia but a member friend sends me all
your lovely information on any thing art. I
have bought all my art materials from
Jacksons ever since i started art in 1960 or
whenever Jacksons branch opened here in
Perth may be 50’s.
Thanks to Evie for all her answers to quaries.
I am a retired painter but found the internet
a way of expressing my artistic urges.I miss
the wonderful days & years i spent to receive
my diploma in Fine Art working in every
media. I am in my mid 19s have art in my
blood. Thank you again, for everything
Jacksons.xx from Louise
What a lovely comment, thank you Louise!
Super. I’m looking forward to mixing and
tinting information on the new blue, the
“YInMn” blue.
Thanks Daniel. I wrote an article about YinMn blue here!